Re: Love In Tension Movie Tamil Subtitle Free Download
Aladino Bharudin
The last 4 words of the real subtitle knock it out of the park: from Profits to People. They tell the reader what the book is about, targeting the right audience by grabbing people who are interested in that idea.
The subtitle is so important here, especially UNLOCK PRODUCTIVITY. Many people might assume from the title that the Author is advocating a lazy lifestyle. But the idea of unlocking productivity through a five-hour workday sends a very different message.
Subtitles are primarily intended to serve viewers with loss of hearing, but they are used by a wide range of people: around 10% of broadcast viewers use subtitles regularly, increasing to 35% for some online content. The majority of these viewers are not hard of hearing.
This document describes 'closed' subtitles only, also known as 'closed captions'. Typically delivered as a separate file, closed subtitles can be switched off by the user and are not 'burnt in' to the image.
There are many formats in circulation for subtitle files. In general, the BBC accepts EBU-TT part 1 with STL embedded for broadcast, and EBU-TT-D for online only content. For a full description of the delivery requirements, see the File format section.
The Subtitle Guidelines describe best practice for authoring subtitles and provide instructions for making subtitle files for the BBC. This document brings together documents previously published by Ofcom and the BBC and is intended to serve as the basis for all subtitle work across the BBC: prepared and live, online and broadcast, internal and supplied.
The editorial guidelines in the Presentation section are written in plain English, requiring only general familiarity with subtitles. In contrast, to follow the technical instructions in the File format section you will need good working knowledge of XML and CSS. It is recommended that you also familiarise yourself with Timed Text Markup Language and SMPTE timecodes.
An overview of subtitles: read this introduction and the first few sections of Presentation, Timing, Identifying speakers and EBU-TT and EBU-TT-D Documents in detail. Scanning through the examples will also give you a good understanding of how subtitles are made.
Making subtitle files for online-only content: if your software does not support EBU-TT-D you will need to create an XML file yourself. Assuming you are familiar with XML and CSS, start with Introduction to the TTML document structure and Example EBU-TT-D document. Then follow the quick EBU-TT-D how-to.
Assistance with these guidelines and specific technical questions can be emailed to subtitle-...@bbc.co.uk. For help with requirements for specific subtitle documents contact the commissioning editor.
Most of this document applies to both online and broadcast subtitles. When there are differences between subtitles intended for either platform, this is indicated with one of these flags:
online - applies only to subtitles for online use (not for broadcast).
broadcast - applies to broadcast-only subtitles (not online).
When no broadcast or online flag is indicated, the text applies to all subtitles.
Subtitles must conform to one of two specifications: EBU-TT-D (subtitles intended for online distribution only) or EBU-TT version 1.0 (for broadcast and online). Sections that only apply to one of the specifications are indicated by one of these flags: EBU-TT-D or EBU-TT 1.0.
Queries and comments may be raised at any time on the subtitle guidelines github project by those with sufficient project access levels. Readers who do not have access to the project should email subtitle-...@bbc.co.uk.
Good subtitling is an art that requires negotiating conflicting requirements. On the whole, you should aim for subtitles that are faithful to the audio. However, you will need to balance this against considerations such as the action on the screen, speed of speech or editing and visual content.
However, if you have a very "busy" scene, full of action and disconnected conversations, it might be confusing if you subtitle fragments of speech here and there, rather than allowing the viewer to watch what is going on.
In Teletext, which is used to display subtitles on some broadcast platforms, line length is limited to 37 fixed-width (monospaced) characters, since at least 3 of the 40 available bytes are used for control codes. Other platforms use proportional fonts, making it impossible to determine the width of the line based on the number of characters alone. In this case, lines are constrained by the width of the region in which they are displayed. Guidelines for both platforms are summarised in the table below.
A maximum subtitle length of two lines is recommended. Three lines may be used if you are confident that no important picture information will be obscured. When deciding between one long line or two short ones, consider line breaks, number of words, pace of speech and the image.
Short sentences may be combined into a single subtitle if the available reading time is limited. However, you should also consider the image and the action on screen. For example, consecutive subtitles may reflect better the pace of speech.
In most cases verbatim subtitles are preferred to edited subtitles (see this research by BBC R&D) so avoid breaking long sentences into two shorter sentences. Instead, allow a single long sentence to extend over more than one subtitle. Sentences should be segmented at natural linguistic breaks such that each subtitle forms an integrated linguistic unit. Thus, segmentation at clause boundaries is to be preferred. For example:
In the examples given above, no markers are used to indicate that segmentation is taking place. It is also acceptable to use sequences of dots (three at the end of a to-be-continued subtitle, and two at the beginning of a continuation) to mark the fact that a segmentation is taking place, especially in legacy subtitle files.
The recommended subtitle speed is 160-180 words-per-minute (WPM) or 0.33 to 0.375 second per word. However, viewers tend to prefer verbatim subtitles, so the rate may be adjusted to match the pace of the programme. Most subtitle authoring tools calculate the WPM and can be configured to give a warning when the word rate exceeds a certain WPM threshhold. You can also calculate the WPM manually (see box).
To calculate the word-per-minute (WPM) speed of a subtitle in an EBU-TT document, divide the number of words in a subtitle ( element) by its duration. The duration value can be calculated from the begin and end attributes. In the example fragment below, the first subtitle has a word rate of 2 words per second or 120 WPM (0.5s per word). The second subtitle is cumulative: the word 'three' appears on its own for 3 seconds, then 'four!' is added and both are displayed for another 2 seconds, giving 5 seconds for 'three' and 2 seconds for 'four!'. Note that end times in EBU-TT are exclusive.
Based on the recommended rate of 160-180 words per minute, you should aim to leave a subtitle on screen for a minimum period of around 0.3 seconds per word (e.g. 1.2 seconds for a 4-word subtitle). However, timings are ultimately an editorial decision that depends on other considerations, such as the speed of speech, text editing and shot synchronisation. When assessing the amount of time that a subtitle needs to remain on the screen, think about much more than the number of words on the screen; this would be an unacceptably crude approach.
Give less time if the target timing would involve clipping a shot, or crossing into an unrelated, "empty" [containing no speech] shot. However, always consider the alternative of merging with another subtitle.
In a news item or factual content, the main aim is to convey the "what, when, who, how, why". If an item is already particularly concise, it may be impossible to edit it into subtitles at standard timings without losing a crucial element of the original.
These may be similarly hard to edit. For instance, a detailed explanation of an economic or scientific story may prove almost impossible to edit without depriving the viewer of vital information. In these situations a subtitler should be prepared to vary the timing to convey the full meaning of the original.
It is also very important to keep your timings consistent. For instance, if you have given 3:12 for one subtitle, you must not then give 4:12 to subsequent subtitles of similar length - unless there is a very good reason: e.g. slow speaker/on-screen action.
If there is a pause between two pieces of speech, you may leave a gap between the subtitles - but this must be a minimum of one second, preferably a second and a half. Anything shorter than this produces a very jerky effect. Try to not squeeze gaps in if the time can be used for text.
Impaired viewers make use of visual cues from the faces of television speakers. Therefore subtitle appearance should coincide with speech onset. Subtitle disappearance should coincide roughly with the end of the corresponding speech segment, since subtitles remaining too long on the screen are likely to be re-read by the viewer.
The same rules of synchronisation should apply with off-camera speakers and even with off-screen narrators, since viewers with a certain amount of residual hearing make use of auditory cues to direct their attention to the subtitle area.
The subtitles should match the pace of speaking as closely as possible. Ideally, when the speaker is in shot, your subtitles should not anticipate speech by more than 1.5 seconds or hang up on the screen for more than 1.5 seconds after speech has stopped.
However, if the speaker is very easy to lip-read, slipping out of sync even by a second may spoil any dramatic effect and make the subtitles harder to follow. The subtitle should not be on the screen after the speaker has disappeared.
Note that some decoders might override the end timing of a subtitle so that it stays on screen until the next one appears. This is a non-compliant behaviour that the subtitle author and broadcaster have no control over.
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